Speaker 1: You are about to and to Vault thirteen once who
Speaker 1: are transport vehicle arrives at the facility. Please continue moving
Speaker 1: forward at all times, do not touch any word or anything.
Speaker 1: And you know, Smoothie, please enjoy your stay involves thirteen.
Speaker 1: Welcome to the stuff of life. I'm your host, Julie Douglas.
Speaker 1: In the last episode, we looked at desperation, and in
Speaker 1: this episode we walk through the grotesque ery of fear
Speaker 1: that drives desperation. To that end, we step into three
Speaker 1: vaults of the imagination, all constructed from myth and all
Speaker 1: dealing with one of our worst fears, death m h.
Speaker 1: The first of all, it contains an archive of a
Speaker 1: psy ops mission in Vietnam that you deeply held cultural
Speaker 1: beliefs about the dead to wage psychological warfare. The second vault,
Speaker 1: a haunted attraction, contains all the ingredients to tap into
Speaker 1: a kind of ancient cave of fears. How's it going,
Speaker 1: Holly good? Those twisty rooms and the vortex room, they
Speaker 1: genuinely jack with your equilibrium, But you feel like your
Speaker 1: body is made, like there's a force that's working on
Speaker 1: your body, like I'm falling to the left or rights
Speaker 1: we're talking primal mythology here, the idea of a thinning
Speaker 1: of the veil between two worlds, life and death. It's
Speaker 1: fascinating if you think about it. Each Halloween we put
Speaker 1: on a pageant of them a cob we pay homaged ghosts, ghouls,
Speaker 1: and the grim Reaper. We even go so far as
Speaker 1: to submit ourselves to a haunted house, walking through a
Speaker 1: maze of horrors and mock sacrifices of our souls. There's
Speaker 1: a lot of elements tied to going into a hunted house.
Speaker 1: In many ways, it's a ride of passage. It's the
Speaker 1: hero's journey. It's the going into the unknown and showing
Speaker 1: that you're grown up and that you're you're an adult
Speaker 1: and you're ready to take these things on. In the
Speaker 1: third vault, we enter the immersive theater production democracy. You
Speaker 1: may agree with me that what people find the most
Speaker 1: stridening debate is politics. But first let's talk about the
Speaker 1: sound of fear, the wonderland of symbols embedded in the
Speaker 1: simplest of tones. What does this sound mean to you?
Speaker 1: It could be a leaky faucet, but dig a bit deeper.
Speaker 1: Think of a water droplet separated from its source, isolated,
Speaker 1: dripping into an empty bowl, displaced apart from the whole.
Speaker 1: These quiet moments, sound is amplified, and so is emotion
Speaker 1: because each noise we've ever heard has been coded into
Speaker 1: our brains as a symbol of some larger pattern, a
Speaker 1: pattern that tells a story. Now with that in mind,
Speaker 1: imagine it's nineteen seventy and you're a Viet Cong soldier
Speaker 1: making your way through the jungle in the middle of
Speaker 1: a night when you hear this. What you're hearing is
Speaker 1: essentially a haunted house in the middle of a jungle.
Speaker 1: The Special Operations Group in the U. S. Army UM
Speaker 1: wired up a jungle area outside of an American firebase
Speaker 1: with UM with sound speakers, and one night, it was
Speaker 1: in the early nineteen in the dead of night, began
Speaker 1: playing this kind of supernatural ghost show over these speakers,
Speaker 1: and the idea to terrify UM the Viet Cong infiltrators
Speaker 1: that had taken up positions in that forest. Oh good.
Speaker 1: I'm Nathan Mallett, founder and editor of Military History Now
Speaker 1: dot com. Military History Now catalogs the strange, offbeat in
Speaker 1: lesser known aspects of military history, all the stuff that
Speaker 1: really fascinates Nathan like ghost Heap number ten from the
Speaker 1: Vietnam War. The grunts of the wheels of the Green
Speaker 1: Machine the name they give the military. The Green Machine
Speaker 1: is coming from America with flesh on it. Today is
Speaker 1: the day for Utility or Wonderland of heroes and slogans.
Speaker 1: In the Green Machine, a grunt doesn't seek out the enemy.
Speaker 1: He goes hunting. The Green Machine plays games like Wondering Soul.
Speaker 1: Wandering Soul is a tape that has been put out
Speaker 1: by the Psychological Operations Battalion and ben wa is used
Speaker 1: by the operating divisions and separate brigades broadcast a rally
Speaker 1: appeal to the bigcom The tape itself is rather a
Speaker 1: weird one with the funeral dirge music in the background
Speaker 1: and they flatter talking to his children saying he's died
Speaker 1: on the battlefield and he's trying to encourage his comrades
Speaker 1: and the rallying joined the just caude. It kind of
Speaker 1: reminded me of an episode of Gilligan's Island. Um remember
Speaker 1: the old TV series from the sixties. There were some
Speaker 1: spies that wanted to chase the castaways off the island,
Speaker 1: so they dressed up in white sheets and tried to
Speaker 1: make the castaways believe that the island was haunted. Somebody,
Speaker 1: I think, and maybe the Pentagon saw that episode and
Speaker 1: thought this might work in Vietnam. But this wasn't the
Speaker 1: first time the US military engaged in the theater of war.
Speaker 1: They did borrow some of this idea that these types
Speaker 1: of tactics, so from a from a group in World
Speaker 1: War Two known as the Ghost Army. They used a
Speaker 1: lot of sort of audio equipment and loud speakers to
Speaker 1: fool the Germans post Normandy invasion Europe. So they would
Speaker 1: they play over the loudspeakers um the sound of like
Speaker 1: one Sherman tanks rolling through the forest. So the Germans
Speaker 1: opposite the American lines would think that there was a
Speaker 1: massive sort of armored attack waiting to be unleashed on them,
Speaker 1: and they would evacuate the area, and in reality that
Speaker 1: the American lines were, you know, probably thinly defended. And
Speaker 1: so I think ghost Tape was kind of borrowing from
Speaker 1: that sort of special operation psychological operations campaign of the
Speaker 1: Second World War, and they brought it to Vietnam, but
Speaker 1: they sort of they added a sort of the supernatural
Speaker 1: element to it. And Ghost Team Number ten. American forces
Speaker 1: were trying to tap into deeply held cultural ideas about
Speaker 1: life and death of the Vietnamese people worshiped the souls
Speaker 1: of their ancestors, but this wandering soul is very different.
Speaker 1: It was seved in an echo chamber by the U. S.
Speaker 1: Army and as broadcast from a helicopter of a jungle.
Speaker 1: Some of the sounds are of the poet I guess,
Speaker 1: presumably Vietcong fighters who had been killed earlier, and they
Speaker 1: were sort of warning their comrades, you know, you're in
Speaker 1: a lost cause. This is terrible. Don't let what happened
Speaker 1: to me happen to you. Go home while you still can.
Speaker 1: And then interlaced with all of this is the sounds
Speaker 1: of children calling for their their daddies and and and
Speaker 1: wives or widows weeping, and just sort of gongs banging
Speaker 1: and things like that. But it's all sort of echoe
Speaker 1: and swirly and kind of just otherworldly. Even if the
Speaker 1: Vietcong didn't believe that there were in fact ghosts in
Speaker 1: the jungle with them, even if they realized they were,
Speaker 1: sort of this was part of a kind of a
Speaker 1: supernatural horror show being put on by the Americans. Just
Speaker 1: the sounds and the message, it's just it's just more
Speaker 1: than a little eerie. So I think even if it
Speaker 1: didn't have the full impact, I think it was probably
Speaker 1: unpleasant to be sitting, you know, in the dark, listening
Speaker 1: to these sounds. Here's the thing. It was late in
Speaker 1: the war, and the US was up for trying anything
Speaker 1: that might move the needle in their favor. It was
Speaker 1: during the period when they were drawing their forces back
Speaker 1: out of Southeast Asia, so they were having to do,
Speaker 1: you know, more with less, and they were trying to
Speaker 1: hand the fighting over to the Vietnamese. Was a big
Speaker 1: part of the US effort in Southeast Asia. UM, And
Speaker 1: I think it might have been sort of the sort
Speaker 1: of an outgrowth of that idea of trying to win
Speaker 1: your friends, you know, win over the hearts and minds
Speaker 1: of the South Vietnamese, but also try to demoralize the enemy. Um.
Speaker 1: That was a big part of of the American effort
Speaker 1: in Southeast Asia. How effective was the operation, It's hard
Speaker 1: to know. Some accounts say that Ghost Tape number ten
Speaker 1: drew aggressive fire rather than retreat. And then there's the
Speaker 1: nearby villagers who woke to a chilling cacophony of music
Speaker 1: and voices, not exactly something that would win hearts and minds.
Speaker 1: We think we know about war and fear, and then
Speaker 1: a footnote to history like ghost Heap number ten surfaces
Speaker 1: on a site like Military History Now, and it reframes everything.
Speaker 1: I just wanted to tell the stories about military history
Speaker 1: that don't get reported. With all the real and imagined
Speaker 1: terrors in this world, why would we willingly seek out
Speaker 1: opportunities to walk into fear, to knowingly give ourselves over
Speaker 1: to psychological warfare? Yep, we are talking about a haunted house.
Speaker 1: Talk are are randomly demons whose wars I'm very sure
Speaker 1: we'll be talking. Most people come to a hommed house
Speaker 1: to be scared, to be entertained, to have a great time.
Speaker 1: But there are people who get the deeper meanings. They
Speaker 1: get the roots of things, the roots of Halloween. They
Speaker 1: can see the references that's been Armstrong of another world.
Speaker 1: In Atlanta, Georgia, it's one of the most popular Halloween
Speaker 1: attractions in the city, in part because of Ben's commitment
Speaker 1: to the idea of the hero's journey, something very exciting
Speaker 1: to go into a scary environment, to almost be struggling
Speaker 1: with the savage beast in a way to have that
Speaker 1: adrenaline surge, but yet to know that you're safe. Every
Speaker 1: day we suffer bursts of a journal and from anger
Speaker 1: in our cubicle, from traffic on the road, and our
Speaker 1: entire way we deal with this is repression. We just
Speaker 1: repressed it because in our culture it's not appropriate to
Speaker 1: scream and yell and go crazy. But you can come
Speaker 1: to a place like a horned attraction and you can
Speaker 1: let it all out. You can scream and yell, and
Speaker 1: it's such a release. It's so much fun. And I
Speaker 1: often think the Harnhou's actors are playing the role of
Speaker 1: like a predator. It's like you're a hunter, you know.
Speaker 1: So they have the fun of stalking prey, if you will,
Speaker 1: stalking the patrons and scaring them. So it's all very
Speaker 1: deep when you come and you really think about it.
Speaker 1: One of another World's big inspirations is HP Lovecraft, the
Speaker 1: early science fiction and horror author who plumbed the depths
Speaker 1: of primordial ancient evil, the kind of evil that's deeper
Speaker 1: and more abiding than humans can ever understand. I felt
Speaker 1: a wave of tripe to tangible as a draft from
Speaker 1: the tomb. It seems humpow like, like the spawn of
Speaker 1: another dimension, like something only partly of mankind, linked to
Speaker 1: black gulfs, beyond all spheres of false the matter, space
Speaker 1: and time. To that end, every square inch of nether
Speaker 1: world is layered in objects that recall this kind of
Speaker 1: existential horror. It's like a museum of nightmare images, and
Speaker 1: it's world building at its finest. It preys on all
Speaker 1: the senses, particularly the vibrations that wend their way into
Speaker 1: your ears. The cool thing about a hunt an ounce
Speaker 1: that a hunt anounced has over other forms of entertainment
Speaker 1: is it has the tactile element because you're walking through it.
Speaker 1: And it also has smell because you don't really use
Speaker 1: taste much, but you know. But by far it's visual
Speaker 1: and sound. I mean, those are the elements. You you
Speaker 1: see the monster, and you hear the monster, and the
Speaker 1: monster has a deep, guttural, bassy sound in the case
Speaker 1: eating size. Sometimes you don't see the monster, you just
Speaker 1: hear it, and the sound matters. So those two things
Speaker 1: they really tied together to create the complete package to
Speaker 1: put someone into a new world. We have a scene
Speaker 1: in the attraction where you see a ghost projected on
Speaker 1: a It's basically a screen that picks out the lights.
Speaker 1: You can see right through it. You see the back wall,
Speaker 1: and as the ghost comes out, you know, the floorboards
Speaker 1: start cracking and snapping, and you hear the actual physical
Speaker 1: sounds of real wood moving. But there's a rumbling and
Speaker 1: what happens. We have a thing called a butt kicker,
Speaker 1: and a butt kicker is a type of speaker, But
Speaker 1: what it is, it's a huge metal enclosure with a
Speaker 1: magnet that moves much like a speaker does, you know,
Speaker 1: in a cone, but it actually creates a physical vibration,
Speaker 1: so the entire floor vibrates to the sound. So you
Speaker 1: hear the sound of this roaring and a floor is
Speaker 1: shaking and you're watching the you know, the things crack
Speaker 1: and move towards you, and you're seeing this ghost and
Speaker 1: the whole thing is is very unreal, and it's taking
Speaker 1: sound and actually making it physical. You feel that then
Speaker 1: takes us on a tour of the attraction so we
Speaker 1: can experience the assault on our senses for ourselves. Now
Speaker 1: we're walking through the spider room with the spider sacks
Speaker 1: hanging down. I said, glad, the lights are still on
Speaker 1: a little bit good nostration. You're gonna grab your walk out,
Speaker 1: throwing you very little free foot wide opening fog, and
Speaker 1: just when you think the worst is past you, that
Speaker 1: you've cleared the big hurdle, another round of sound waves
Speaker 1: hits you. This act. They sometimes have step pads and
Speaker 1: they can step on the creative sound unexpected air blasts.
Speaker 1: Every part of the attraction is carefully orchestrated, down to
Speaker 1: the moment that you enter the parking lot and you
Speaker 1: queue up in line. This is when an actor known
Speaker 1: as a slider comes creaming towards you, sliding on his knees,
Speaker 1: dragging metal tipped gloves over the concrete to create a
Speaker 1: trail of sparks. So you come here. You hear screams
Speaker 1: in the parking lot of people being scared. You hear
Speaker 1: the sliders scraping steel on the concrete, which also your
Speaker 1: happy fun. I was looking in the love late ron
Speaker 1: light when my eye sight. We actually choose to make
Speaker 1: the outdoor more festive and feeling. Um. We've done everything
Speaker 1: over the years to make it sound creepy, but what
Speaker 1: we like better now is we play like Halloween songs.
Speaker 1: If you will, you know Godzilla by Blue Oyster Cult
Speaker 1: or you know the Monster Mash, or just all kinds
Speaker 1: of kookie fun songs to create a more of a
Speaker 1: festival street atmosphere. Because a good haunted attraction rides the
Speaker 1: razor's edge between Halloween on one side and horror on
Speaker 1: the other. Halloween is all the good, fun, happy moments.
Speaker 1: You know, too far to Halloween, it becomes too kitty,
Speaker 1: too far into horror. Horror is the thrills, excitement, but
Speaker 1: too far into horror becomes too morbid, too nasty. So
Speaker 1: a good attraction, my mind, rides the middle line. But
Speaker 1: then the closer you get into the interior of the attraction,
Speaker 1: the more the sound becomes real. I'm about to go
Speaker 1: into this as we like to call it, it's the
Speaker 1: click click click of the roller coaster going up, preparing
Speaker 1: you for the drop. Once you get into this room,
Speaker 1: it's darker, it's more moody. You know, there's different announces
Speaker 1: that you're seeing creepy things. But the fun part is stopping.
Speaker 1: Now you're about to go. You're about to enter that
Speaker 1: ancient cave. You're about to face your fears. That also
Speaker 1: trains the staff and group psychology. They talk about archetypes
Speaker 1: and the behaviors that go along with them. So you
Speaker 1: know that stoic haunted house expert, Well, that person is
Speaker 1: usually looking for minute details while the hero was up,
Speaker 1: but under the cover of darkness and terror, that hero
Speaker 1: may just turn out to be the person who sacrifices
Speaker 1: someone from the group, shoving them out in front to
Speaker 1: save himself. They also talk about things like fear of clowns,
Speaker 1: fear of darkness, the idea that the deepest fear, the
Speaker 1: root fear, is the unknown. Why are you afraid of
Speaker 1: darkness because you don't know what's in it? Why are
Speaker 1: you afraid of clowns because you don't know the intention
Speaker 1: the person is masked. It's fear of the unknown? What's
Speaker 1: out there? There's something out there I don't understand. And
Speaker 1: this way another world creates a physical maze to work
Speaker 1: out the mental ones that we run through in our
Speaker 1: minds when it comes to the unknown. But what happens
Speaker 1: when you enter a haunted house that seizes on fears
Speaker 1: that are all too real in a world of endless
Speaker 1: apocalyptic realities, unbeh of nightmares masquerading a salvation u this
Speaker 1: fall one event will perfectly capture the mood of our
Speaker 1: current collective imagination. They're bringing drugs, creative time and artist
Speaker 1: Pedro reys invite you to experience the haunted house that
Speaker 1: already exists in our minds. Will be left behind. Democracy
Speaker 1: a house, a political horror that's from democracy and immersive
Speaker 1: theater play put on in the fall of two thousand
Speaker 1: and sixteen by artist Pedro Reyes. We were working working
Speaker 1: in the Brooklyn Army Terminal, which is a massive concrete
Speaker 1: structure was built for the First World War, and this
Speaker 1: was a place where bombs and all the kind of
Speaker 1: uh weapons were made for the first time Second World Wars,
Speaker 1: and and it still feels like a military zone. As
Speaker 1: soon as audience members showed up at the terminal, they
Speaker 1: were placed front and center in the plays action. You
Speaker 1: climbed in his van, and his van and the chauffeur
Speaker 1: won't talk to you. He's playing the right wing white
Speaker 1: supremacist radio. Then suddenly this van is stopped by the police.
Speaker 1: This is an army terminal. We don't give towards it
Speaker 1: unless you have a government issued ide. You and everybody
Speaker 1: in this vehicle is now trespassing. I'm gonna have to
Speaker 1: detain everybody needs vehicle. Who your vehicle to the right
Speaker 1: right now? Okay, but you're not sure where there is
Speaker 1: the side of the play or not, because they tell
Speaker 1: you that it was a restricted area, that the stard
Speaker 1: shouldn't be going in these parts, that this is a
Speaker 1: military sounded to the working all the way down the
Speaker 1: quick let's go where they're treated brutally by these actors,
Speaker 1: which are addressed as riot police. Inside the buildings, warrens
Speaker 1: of rooms presented psychological minefields, and in one of them,
Speaker 1: the opioid epidemic taking hold in the US was explored
Speaker 1: with an actor begging for help. I'm gone, I need
Speaker 1: to perfectly care im not able. Then she tries to
Speaker 1: persuade people from the audience who helped her to get
Speaker 1: fields from the doctor because the doctor won't give her
Speaker 1: any more guilt. She's very curious because you know, like
Speaker 1: the people in the audience were refusing to help her.
Speaker 1: The audience is also in character. It was very interesting
Speaker 1: to see the psychological dynamics and this way democracy was
Speaker 1: very much a social experiment. The audience reflected our society's
Speaker 1: judgment of others and how we tend to regard addiction
Speaker 1: as a moral failure. Another social experiment occurred in a
Speaker 1: boardroom of a fictitious company, and it required participants to
Speaker 1: either save the jobs of five thousand people or fire
Speaker 1: them and claim a one million dollar bonus package. And
Speaker 1: if you decide to take the package, you take the list.
Speaker 1: If you take the list, you are right and you
Speaker 1: are against at a very fancy party. And if you
Speaker 1: decided to save the workers, you take of the sairs
Speaker 1: and and then you're the health You're given an apron
Speaker 1: and you have to their drinks to the other gifts.
Speaker 1: In a school room of the future, Rais envisioned a
Speaker 1: classroom with no teachers, just screens with educational avatar who
Speaker 1: lectured a kind of revisionist history. And in another room
Speaker 1: there was a future where there were no parks, just
Speaker 1: a headset outfitted in virtual reality. And you see the
Speaker 1: reach park in in through the VR ships because there's
Speaker 1: no more facts in the future. And and this is
Speaker 1: something that Trump is doing, you know, like Trump is
Speaker 1: in terms wants to turn natural parks into places where
Speaker 1: they can be drilling or they can be tracking or whatever.
Speaker 1: That seemed like a sci fi scenario three months ago,
Speaker 1: and now it's happening. Today I'm signing a new executive
Speaker 1: order to end another egregious abuse of federal power. The
Speaker 1: order would review the status of twenty four national monuments
Speaker 1: created over the past twenty years. Major sites in the West,
Speaker 1: including the Bears Ears National Monument in Utah, are under review.
Speaker 1: The half million hecked Are protected area is home to
Speaker 1: Native Americans who oppose possible changes. Rant says that all
Speaker 1: of these issues are political. It's the parsing out of
Speaker 1: what's private public, and what's a shared world, the role
Speaker 1: that we all get to decide we want to live in,
Speaker 1: and in part that was the impetus for democracy. Democracy
Speaker 1: is a kind of very fragile process. When the countries
Speaker 1: are becoming less rich, people tend to become more conservative.
Speaker 1: They want an easy fix. It's a it's a psychological
Speaker 1: phenomena that you want to have the fear of a
Speaker 1: father who's gonna come and and fix things. That allows
Speaker 1: often for the arrival of a siren that will, you know,
Speaker 1: like just take advantage of the situation and school everybody.
Speaker 1: So that's what happened in the United States, what has
Speaker 1: happened in many other countries also, So it's a global phenomena,
Speaker 1: which leads to the one problem with democracy as supposed
Speaker 1: to a hunt of house where you exit and then
Speaker 1: you know so here you actually the countercasto, and your
Speaker 1: still in the middle of the color house that studies
Speaker 1: unfolding ariety every way. Democracy has disappeared in several other
Speaker 1: great nations, not because the people of those nations disliked democracy,
Speaker 1: but because they had grown tired of unemployment and insecurity,
Speaker 1: of government confusion, government weakness. Finally, in desperation, they chose
Speaker 1: to sacrifice liberty. Ultimately, democracy is a reminder things don't
Speaker 1: change by itself, but you have to take part in
Speaker 1: the process. We in America know that our own democratic
Speaker 1: institutions can be preserved and made to work. But in
Speaker 1: order to preserve them, we need to act together to
Speaker 1: meet the problems of the nation boldly, and to prove
Speaker 1: the practical operation of democratic government is equal to the
Speaker 1: task of protecting the security of the people. My eight
Speaker 1: year old hates October. At every turn she sees symbols
Speaker 1: of mortality, skeletons, coffins, and mummies, and every few days
Speaker 1: she tells me she doesn't want to die, and my
Speaker 1: heart breaks a little because there's nothing I can do
Speaker 1: to change the equation of existence. Instead, I try to
Speaker 1: explain that Halloween, haunted houses, horror movies, and even our
Speaker 1: worst fears repeated on nightly news broadcasts, those are just
Speaker 1: psy ops missions in reverse. I explained that we take
Speaker 1: this fear that wears us down and we confront it
Speaker 1: in its ultimate form, deaf, and in this way we
Speaker 1: always find our way back to life. No doubt that
Speaker 1: when I tell my daughter this, I'm also consoling myself,
Speaker 1: telling myself that staring down the grotesqueries of life is
Speaker 1: part of the hero's journey to come out on the
Speaker 1: other side, battled and bruised, but better for it. And
Speaker 1: the next episode we'll look at how we are all
Speaker 1: inextricably wired together. We're all connected in a very deep way,
Speaker 1: and yet we all forget that. Thank you to Nathan
Speaker 1: Mallett for walking us through the psy Ops mission Ghost
Speaker 1: Tape number ten. You can find more of Nathan's research
Speaker 1: on military history. Now Many things to Creative Time and
Speaker 1: Pedro raise for discussing democracy with us. You can see
Speaker 1: more of Pedro's work at pedro rays dot com. And
Speaker 1: thank you to Ben Armstrong for pulling back the curtain
Speaker 1: on the fear machine that is nether World, and to
Speaker 1: Holly Fry of stuff you missed in history class, thank
Speaker 1: you for holding my hand through a nether World. Stuff
Speaker 1: of Life is written an executive produced by me Julie
Speaker 1: Douglas and co produced by Noel Brown. Editorial oversight is
Speaker 1: provided by contributing producer Dylan Fagin and Head of Production
Speaker 1: Jerry Rowland. Original music is by Noel Brown. This episode
Speaker 1: also featured music by Tristan McNeil, Aaron Grubbs and Dylan Fagan.
Speaker 1: Additional music is by the band Breathers. You can find
Speaker 1: more of their music at Breathers dot band camp. This
Speaker 1: episode also features that Hopeful Future is all I've Ever
Speaker 1: Known by Chris Zabrievsky, and you can find more of
Speaker 1: his work at Chris Zabrievsky dot com. You can find
Speaker 1: the Stuff of Life on Facebook and Twitter, and you
Speaker 1: can email us at the Stuff of Life at House
Speaker 1: to Works dot com. That's Harry and Part of It
Speaker 1: The Laundry Room te